The mother school for land photography was located at Columbia University, in New York, where the students received the same thorough training which was given to the aerial operators at Rochester, with instruction in motion-picture photography added. The students at this school were the pick of the newspaper photographers and motion-picture operators of America. Among them were men who had “snapped” presidents and potentates, celebrities and notorieties, prize-fighters, reformers, murderers, prelates, politicians and statesmen, leaders of society, Society and near-society; who had “filmed” presidential inaugurations, Newport weddings, railway disasters, yacht-races, South Sea cannibals, Mexican revolutions, and Heaven knows what besides. Their courage and resourcefulness were precisely the qualities which were required of army photographers, for there was nowhere that they would not go, nothing that they would not do, and the more danger there was in their work the more it appealed to them. When a new type of gun was being fired for the first time and the gun crew took refuge in the bomb-proofs as a precaution against accident, the army movie-men moved their machines up close in the hope that if the gun exploded they would get a picture of the explosion. One of the Signal Corps operators, Captain Edward N. Cooper, with his assistant, Sergeant Adrian Duff, while attached to the Twenty-Sixth Division, crawled out into No Man’s Land just before an attack was scheduled to take place, and, though exposed to both German and American fire, set up their machine in order that the people at home, seated comfortably in motion-picture theatres, might actually see the boys going “over the top.” On another occasion this same young officer became separated from the troops to which he was attached and found himself under the fire of a German machine-gun, but in spite of the hail of bullets he stuck to his work, made his pictures, and returned to the American lines herding in front of him a group of Germans whom he had captured single-handed at the point of an empty revolver. A camera-man whom the French Government detailed to accompany me along the Western Front in 1916 was seriously wounded by a German shell just as we were leaving Verdun. His assistant helped me to give first aid to his chief and then, though the road was being heavily bombarded, coolly set up his machine and turned the crank while the wounded man was being lifted into an ambulance. It is a striking commentary on the scepticism of American audiences that, when I showed that picture in the United States, fully half of the people who saw it insisted that it had been faked. Another officer of the photographic section who, before our entry into the war, as the representative of a Chicago newspaper had accompanied the German Armies during the invasion of Poland, was present at the capture of Warsaw. When the Kaiser reviewed the troops after his triumphal entry